In 2004, the New York-based artist Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art, founded by John Kelsey & Emily Sundblad) on Manhattan’s Lower East Side. Often playing on the double-identity of art dealer and artist, Spaulings’ work undermines professional divisions of labor and disciplinary hierarchies, while interrogating accepted notions of individual authorship and agency.

For her first solo show «The One & Only», 2005, Reena Spaulings presented a series of hybrid painting/sculptures in the form of wall-mounted flags. Using the kind of readymade flagpoles commonly seen on suburban American house fronts and small New York business-fronts, this gesture could be read as more of an occupation than an installation, claiming a territory in another dealer’s Chelsea gallery in order to problematize the protocols by which dealers «represent» artists and their work.

Reena Spaulings has also produced publications, performances and underground dance music. Reena Spaulings Fine Art is located on Manhattan’s Lower East Side. (


MoMA, The Museum of Modern Art, New York

Whitney Museum of American Art, New York

FRAC, France (Fonds Regional d’Art Contemporain)



2017 HER AND NO. Reena Spaulings, Museum Ludwig, Cologne

2016 Pont du Carrousel, Galerie Chantal Crousel, Paris

2015  Later Seascapes, Galerie Neu, Berlin

2014 Later Seascapes, Campoli Presti, London

2013 Reena Spaulings, Galerie Neu, Berlin

2012 😉, Galerie Chantal Crousel, Paris

2011 More Michael Paintings, Indipendenza Studio, Rome, Italy

Michael, Boltenstern.Room, Galerie Meyer Kainer, Vienna, Austria 2010 «Reena Spaulings», Galerie Daniel Buchholz, Berlin

2010 Reena Spaulings, Galerie Daniel Buchholz, Berlin

2009 Reena Spaulings / Marcel Broodthaers, Art|Basel|Miami Beach, Art Positions

The Belgian Marbles, Sutton Lane (Campoli Presti), Brussels

2008 Contemporary Art Museum, Saint Louis, USA

Courbet your enthusiasm, Galerie Chantal Crousel, Paris

2007 How To Cook a Wolf, Kunsthalle Zurich

2006 Bialystoker, Sutton Lane (Campoli Presti), London

2005 The One & Only, Haswellediger & Co. Gallery, New York, January – March



2017 Infected Foot, Greene Naftali, New York

2016 La collection Thea Westreich Wagner et Ethan Wagner, Centre George Pompidou, Paris

Group Exhibition, Campoli Presti, Paris

Exquisite Corpse, Galerie Chantal Crousel at The Mistake Room, Los Angeles

2015 Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York 

Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich 

Enigmas: Martin Barré, David Ostrowski, Julian Schnabel, Reena Spaulings, Andrea Rosen, New York, NY

Open Source: Art at the Eclipse of Capitalism, Max Hetzler gallery, Berlin 2014

Galerie Neu at Gladstone Gallery, Gladstone Gallery, New York, NY

2013 Coulisses, FRAC Aquitaine, Bordeaux, France

2012 La peinture sans les peintres, Villa du Parc, centre d’art contemporain, Annemasse, France

Intérieur jour, Galerie Chantal Crousel, Paris

Superbody, Galerie Chantal Crousel, Paris

Looking back for the future, Campoli Presti, Kunsthalle Zürich, Switzerland

Context message, Zach Feuer Gallery, New York

Coûte que coûte, Hangar-Umam, Beirut, Lebanon. 2011 «Dystopia», CAPC Bordeaux

2011 Dystopia, CAPC Bordeaux «Nature morte vivante», Galerie Chantal Crousel, Paris 2010 «La Règle du jeu», Galerie Chantal Crousel, Paris

Systems Analysis, West London Projects, London(touring to Langen Foundation, Germany)

Where Do We Go From Here?,  Selections from La Colección Jumex, CAC, Cincinnati Contemporary Arts Center, Cincinnati, OH

Signatures, Sutton Lane (Campoli Presti), Paris

Pop Life: Art in a Material World, National Gallery of Canada, Musée des beaux-arts du Canada, Ottawa, ON

Seconde main, Musée d´Art Moderne de la Ville de Paris – MAM/ARC, Paris

Endless Summer / Surf Elsewhere, BLUM & POE, Los Angeles

The Evryali Score, David Zwirner, Inc., New York

GNY: Rotating Gallery 1, P.S.1 Contemporary Art Center, New York

So Be It: Interventions in Printed Matter, Andrew Roth Gallery, New York

Michael Krebber / Reena Spaulings, Galerie Daniel Buchholz, Berlin

Pop Life: Art in a Material World, Hamburger Kunsthalle, Hamburg

Almeria, curated by Nicolas Chardon, Julen Fronsacq, Niklas Svennung, Galerie Chantal Crousel, Paris Greater New York, P.S.1, New York

Sonic Youth etc.: Sensational Fix, CA2M – Centro de Arte Dos de Mayo, Móstoles

Galerie Daniel Buchholz, Cologne

2009 Here Is Every. Four Decades of Contemporary Art, MoMA – Museum of Modern Art, New York, USA

Looking Back: The White Columns Annual, selected by Primary Information, White Columns, New York

Pop Life: Art in a Material World, Tate Modern, London

White Noise, James Cohan Gallery, New York

Sonic Youth etc.: Sensational Fix, Malmö Konsthall, Malmö

2008 Painting Now and Forever, Part II, Carol Greene and Matthew Marks, New York

Mehringdamm 72, MD72, Berlin

L’argent, Le Plateau / Frac Ile-de-France, Paris

Some Neighbors, Kunstverein Muenchen, Munich

Records played backwards, The Modern Institute, Glasgow

2007 945 + 11, Frac-Collection Aquitaine, Bordeaux

24 November – 22 December, Sutton Lane (Campoli Presti), Paris

For the People of Paris, Sutton Lane (Campoli Presti), Paris

Terrible Video, Kunsthalle Zurich

Someone else with my fingerprints, Galerie Chantal Crousel, Paris

Otra De Vaqueros, Bâtiment d’art contemporain, Geneva

Make Your Own Life, Museum of Contemporary Art, Miami

Uncertain States of America, CCA Ujazdowski Castle, Warsaw

Make Your Own Life, Henry Art Gallery, Seattle

For the People of Paris, Sutton Lane (Campoli Presti), Paris

2006 Make Your Own Life: Artists in and out of Cologne, Institute of Contemporary Art, University of Pennsylvania, April

Beware of a Holy Whore, Galerie Chantal Crousel, Paris

Bring The War Home, Elizabeth Dee Gallery, NY/LA, June 2006

Make Your Own Life (curated by Bennett Simpson), ICA, Philadelphia, April 2006.

Whitney Biennial 2006: Day For Night, Whitney Museum, NYC

Painters Without Paintings & Paintings Without Painters, (curated by Gareth James), Orchard, NYC

2005 Tbilisi2 (curated by Daniel Baumann), Tbilisi (Georgia)

The Baltic Triennial 2005 – Black Market Worlds, CAC, Vilnius

Concrete Castle, Le Confort Moderne, Poitiers, France

Lesser New York, curated by Fia Backstrom, NYC

2004 Publish and Be Damned, Cubitt Gallery, London

Robert Smithson, Reena Spaulings Fine Art, New York

Curious Crystals, PS1/MoMA, New York



2016 Béatrice Gross. «Le collectif, artiste contemporain», Art Press 2, February-March-April, 2016, pp.36-43

2015 Reena Spaulings, «Later seascape», ArtAgenda, March 4

«Painting by robot vacuum cleaner: Reena Spaulings at Galerie Neu», Sleek Magazine, February 10

Martin Herbert. «The Fictional Artist», Spike Art Daily, November

Karen Archey. « Reena Spaulings: Later Seascapes », Even, SummerN°1, pp. 17-24

2012 Claire Moulène. «Occupy New York. Une vision de Big Apple déclinée sur fond de trompe l’oeil et de cartons à pizza», Les Inrockuptibles, N° 840, 4 January 2012

2010 Lewis, David, «Reena Spaulings: Sutton Lane», Artforum, February

2009 Lorent, Claude, “Dans quel jeu jouons-nous”, La Libre Belgique, Numero 34, Semaine du 30, Octobre au 5 Novembre

2007 Bankowsky, Jack, «Ciao, Rensselaerville,» Richard Prince, The Solomon R. Guggenheim Foundation, New York, pp. 334-348.

Saltz, Jerry, «Has Money Ruined Art?,» New York, October

Leung, Cynthia, «Reena Spaulings,» The Outlook, Beijing, Summer

Funcke, Bettina, «Gallery Walks,» Texte zur Kunst, June

«About Town,» Art Review, June 2007.

Zucker, Seth, «Reena Spaulings,» Self-Service, Spring/Summer

Mulvihill, Keith, «Art Attack,» jetStyle in-flight magazine, Spring

Funcke, Bettina, «Displaced Struggles,» Artforum, March

2006 Stillman, Nick, «Reena Spaulings: an Art Brand,» Flash Art, May

Birnbaum, Daniel, «2006 Whitney Biennial,» Artforum, May

Maine, Stephen, «Down East,» Art in America, May

Huberman, Anthony, «Reena Spaulings,» 02, Paris, Spring

Kohler, Andrea, «Die Kunst der Konfusion,» NZZ Online, March 10

Cotter, Holland, «The Collective Conscious,» The New York Times, March 5

Weiner, Emily, «Blurred Identities,» Time Out New York, Feb. 23- March 1

Smith, Roberta, «Who Needs a White Cube These Days?», The New York Times, Jan. 13

Griffin, Tim, «Cabaret License,» Artforum, January

Russell, Jacob Hale, «The Invisible Artist,» The Wall Street Journal, Dec. 31

Stevens, Mark, «Who Are These People?,» New York Magazine, December

2005 Rimanelli, David, «On the Ground: New York,» Artforum, December

«The New Cultural Elite: Best of 2005,» New York Magazine, December

Wei, Lilly, «New York, la secousse,» Art Press, October

Schambelan, Elizabeth, «Seth Price,» Artforum, Summer

Gingeras, Allison, «Scene & Herd in Basel,», Summer

«Reena Spaulings,» Grand Street News, March

Cotter, Holland, «Reena Spaulings,» The New York Times, Feb 4

«Reena Spaulings»,, January

«Reena Spaulings»,, January

2004 «Best of 2004», Time Out New York, Dec 30 2004 Ð Jan 5

Cotter, Holland, «Oh, The Year This Could Have Been», The New York Times, Dec 26

Harris, Jane, «The Very Idea», Time Out New York, Aug 5 Ð 12

James, Gareth, «Hunde Und Diplomate», Texte Zur Kunst, Berlin, Summer

Funcke, Bettina, «Andy WarholÕs Aufhebungen» Texte Zur Kunst, Berlin, Summer

Griffin, Tim, «EditorÕs Letter,» Artforum, May



«How To Cook a Wolf» at Kunsthalle Zurich. A year-long curatorial project dealing with the use of fictional and double identities in contemporary art.

«Lee Williams» – ongoing: An artist-persona created by Jutta Koether & Emily Sundblad.

«Grand Openings» – ongoing: A performance project by Ei Arakawa, Jutta Koether and Emily Sundblad. Versions have been presented at Anthology Film Archives, NYC and in Tblisi, Georgia.

«A Night of Country» (2004 …“ present): An ongoing country music performance project in collaboration with playwright Richard Maxwell.

White Light/White Heat (2004): A CD box set remake of the Velvet Underground album, featuring Barbara Sukowa, Rita Ackermann, Seth Price, Emily Sundblad, Gang Gang Dance and others.

«All The King’s Horses» (2004 …“ 2005): A bootleg translation of Michale Bernstein’s 1959 novel Tous les Chevaux du Roi.

Art / Basel

16 Jun, 2016-19 Jun, 2016

Basel, Switzerland

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Liz Deschenes / Jutta Koether / Daniel Lefcourt / Scott Lyall / Sean Paul / Eileen Quinlan / Blake Rayne / Reena Spaulings / Cheyney Thompson
10 June – 23 July 2016
Campoli Presti, Paris

Campoli Presti is pleased to present a group exhibition featuring works by Liz Deschenes, Jutta Koether, Daniel Lefcourt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson. This generation of artists, which the gallery has represented since the beginning, has markedly contributed to redefine notions on medium-specificity and artistic agency. Their work was recently included in the exhibition “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art in New York which has travelled to the Centre Pompidou in Paris and is currently on view.

Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Liz Deschenes has recently worked without a camera to produce reflective photograms. These are obtained by exposing sheets of photosensitive paper to the ambient light of night before fixing them with silver toner. Deschenes’ work is increasingly concerned with architectural and historical contexts of exhibition display. Spatial factors and tangible conditions of display become inscribed in the physicality of the artwork rendering the photograph as a framing-device that intends to ‘bracket’ the space and activate the viewer. The reflective surface of the new photograms on view engages the movements of the viewer and the surrounding architecture.

Jutta Koether’s practice often involves appropriations of literature and art history masters, negotiating questions of aesthetic consensus and of the social-economical networks in which artistic practice operates. Based on Helios and Phaeton by Nicolas Poussin, Koether’s work presented in the exhibition alludes to the geometrical landmark of Western Art while defining a field of play. Locked in the material structure around it, the figure is engaged in a broader movement, organising different zones of contact. By addressing the attraction between archaism and metrics, Koether’s systematic application of paint engages the viewer in a micro-contemplation, comparable to the visual experience of picking up pennies from the ground. The painting forms part of a broader series of works that explores the allegorical figure of Fortune’s wheel and the medieval goddess Fortuna, a metaphor of role of chance in time’s passage.

Throughout his career, Daniel Lefcourt has continually engaged the space between painting and technical imaging. Lefcourt’s work reflects on contemporary image production and the digital economy of images while negotiating the reality of material procedures. His production techniques use aspects of photography, computer modelling, digital fabrication, and sculptural casting. For his Plot Fill and Cast series, Lefcourt has used computer-controlled router, digital scanning and machining techniques as the basis for a play with written and visual communication and the languages of painting. His new body of work from 2016 collapses both series, exploring the space between writing, drawing and painting. Entirely mechanically produced, Untitled (Machine Painting), 2016 is based on geometric drawings that program the path of the brush. Developed from Lefcourt’s interest in digital technologies, the works push the boundaries of painting, juxtaposing the mechanical with the chance of the material.

Scott Lyall’s recent series of works research on the status of digital colour as a code that is constantly translated, transformed, and materialized; continually delaying or deferring its meaning. His printing technique extends this act of translation as it turns information directly into colour. The canvases are produced by combining ink and its erasure, in multiple passes, through a UV-based printer. These graphic assemblages of colour data – ‘non-images’ in a certain way – form visual atmospheres that shift depending on different viewpoints, inscribing within the process an actual experience of ‘colour’.

In Sean Paul’s Arrangement 15, Front/Top/Bottom/Right/Left/Back, a still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape; the black squares function as tokens, which allow the spatial geometry of the still life to be discerned. Following standard practices of technical representation, used for example in the fields of architecture or product design, the still life is pictured from six perpendicular planes forming a box of views composed of the front, back, left, right, top and bottom angles. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. Madame Leblanc, Rerversed, 2012 is based on the Ingres masterpiece “Madame Leblanc”. This print admits 4 different folds, therefore 8 possible configurations on the wall. It is imagined as being folded upon an idealized architectural plane. The type of fold represented above is mapped into a 90 degree convex angle of an existing space.

Eileen Quinlan explores photography’s capacity to be both record of physical facts and deceptive illusion. Employing analogue techniques in an era of digital manipulation, Quinlan creates atmospheric abstract images using the standard tricks of commercial film photography. Based entirely in the studio, Quinlan’s work uses pre-digital photography techniques—such as gels, strobes, smoke and mirrors—to create mesmerizing abstract compositions of light, colour, and texture. Her works recall the pure abstraction of Modernist painting, but are actually direct representations of the items used to create backdrops in commercial photography. The polaroid plays an important role in Quinlan’s practice, often employed as a first take when photographing the still lifes she stages in the studio.

Blake Rayne’s last series of paintings related to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne freely paints the line tracing the surface in an intuitive movement that recalls automatic writing techniques, evoking the wandering and errant traces of digital interfaces. His new body of work from 2016 further explores these concerns by collapsing line and process. For Untitled, 2016 a steel banding commonly used in the shipment of crates was utilized as a soft stencil to create a white looping line lightly dusted with aerated acrylic paint in layers of various colours. The paperclips that initially held the banding together were released to allow for expansion into the final shape of each of the line compositions, now appearing as silhouettes.

Reena Spaulings’ The Dealers (2007) and The New Dealers (2013) were portraits of gallerists based on images downloaded from’s ‘Scene & Herd’ and other art world-related websites depicting friends and professional colleagues that Spaulings worked with over the years. The portraits from 2013 – the second instalment of the series first shown at Kunsthalle Zürich in 2007 – featured a more recent generation of art dealers, exposing the increasing social interests that rule the art market by turning the traders into commodities themselves. Executed in active brushstrokes the portraits play with various features of expressionist figurative painting from the 80s, such as the preference for parody or working from found images. These irreverent portraits of prominent gallerists reflect Spaulings’ interest in art’s status as an exchangeable commodity, whilst addressing the specific displacements, social networks and ambiguities Reena Spaulings inhabits in her double identity of both artist and gallerist. The Complete Dealers features a rack with promotional postcards based on the paintings of both generations of dealers, on a display that evokes their rotating popularity and the visibility features of a retro marketing tool.

Cheyney Thompson’s work focuses on the technology, production and distribution of painting within the context of current abstract economy. Thompson presents us with a visual equivalency for the intangibly complex processes governing our economic systems. The works on paper on view are based on the « Drunken Walk » algorithm, an aleatory path that is used in financial theory to predict stock prices. The algorithm belongs to the study of certain seemingly random types of motion, from botanist Robert Brown’s 19th-century observations of pollen floating on water as well as mathematician Louis Bachelier’s early 20th-centry application of Brown to model fluctuations in stock markets. In this case the “random walk” taken by Thompson’s entity produced a new sequence of values, which he then mapped onto a path, akin to the path of a labyrinth.


Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has an upcoming survey exhibition at the ICA Boston opening on 28th June. She recently had solo exhibitions at the Walker Art Center, Minneapolis and at MASSMoCA, North Adams. Deschenes’ work was recently included in Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum, New York and in Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York. Past exhibitions include a solo exhibition at Secession, Vienna (2012-2013); the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).

Jutta Koether was born in Cologne in 1958. She lives and works between New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Koether has an upcoming survey exhibition at Brandhorst Museum, Munich in 2017. Her work was part of Painting 2.0, Expression in the Information Age at Brandhorst Museum travelling to Mumok, Vienna. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011), Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Kölnischer Kunstverein, Cologne (2006). She was included in the Shanghai Biennial in 2014, in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work was recently on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Scott Lyall is part of the collection of the Whitney Museum, New York. Lyall’s work was recently on view at the Whitney Museum, New York as part of Collected by Thea Westreich and Ethan Wagner. Past exhibitions include The Colour Ball at The Power Plant in Toronto (solo); the little contemporaries at Sculpture Center, New York (solo); When Hangover Becomes Form (with Rachel Harrison), Contemporary Art Gallery, Vancouver; Anti-Establishment, curated by Johanna Burton, at the CCS Bard Hessel Museum; Schnitte im Raum, Museum Morsbroich, Leverkusen; Tentation d’Hazard, The Montreal Biennial 2011; Collatéral, Le Confort Moderne, Poitiers; The Lining of Forgetting, Austin Museum of Art, Weatherspoon Art Museum; and SITE Santa Fe, 7th International Biennial 2008.

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Past solo exhibitions include Communication in the Presence of Noise and Service Relations, Thomas Duncan Gallery, Los Angeles; A Moveable Feast, Part II, Campoli Presti, Paris; and Every Hair of the Bear, Front Desk Apparatus, New York and Symposium, Sutton Lane (Campoli Presti), London. Recent group exhibitions include Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York; Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY and Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

Eileen Quinlan lives and works in New York. Her work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work was recently shown at the Museum of Cycladic Art, Athens and presented at Bergen Kunsthall, Norway in 2015. It formed part of Collected by Thea Westreich Wagner and Ethan Wagner at Whitney Museum of American Art, New York (2015/16) and New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009.

Blake Rayne lives and works in New York. His work is included in the permanent collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York and Fonds Regional d’Art Contemporain, France (FRAC). His upcoming survey solo exhibition at the Blaffer Art Museum de Houston, Texas will open in October 2016. His work recently was on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. Past exhibitions include Künstlerhaus Graz, Austria (2013), Langen Foundation, Germany (2011), Kunsthalle Bergen (2010), The Kitchen, New York (2010) and Le Confort Moderne, Poitiers (2009).

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial. Group shows include: Une Histoire, Centre Pompidou, Paris, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting, Tate St. Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and The Venice Biennale, Italy in 2003.

For more information or images please contact Ines Dahn

Later Seascapes

15 Oct, 2014-16 Nov, 2014

Campoli Presti, London

More Michael Paintings

27 Oct, 2012-14 Jan, 2012

Indipendenza Studio, Rome

Reena Spaulings
More Michael Paintings
27 October 2011- 14 January 2012
Indipendenza Studio, Rome

Indipendenza Studio is pleased to present its inaugural exhibition More Michael Painting by the New York-based artist Reena Spaulings.

More Michael Paintings is a sequel to “Michael,” an exhibition which took place at Galerie Meyer Kainer (Vienna) in March 2011. For these two exhibitions, Spaulings has commissioned me, Michael Sanchez, a Ph.D. student and critic, to serve as a living brush for a series of body paintings, adapting the pinceau vivant technique developed by Yves Klein in 1960. In Klein’s works, nude female models imprinted their bodies covered in blue paint onto large canvases, under the supervision of the artist and a film crew.

While several of the Michael paintings were produced in a private residence in New York and shipped to Rome, most were made on-site the day after I arrived, on October 23rd. Since the exhibition space, an apartment formerly occupied by the family of a collector, was still being prepared at the time of my arrival, the living brushwork took place in the presence of construction workers, office staff, and art handlers stretching canvases. The activity of painting thereby merged, in an ambiguously domestic setting, with the process of renovation and setup. Between painting sessions, I have been able to enjoy a few of the sights of Rome, including the Villa della Farnesina frescoes at the Palazzo Massimo and Bernini’s Santa Teresa at Santa Maria della Vittoria.

De America

06 May, 2011-15 Jul, 2011

Indipendenza Studio, Rome

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

no images were found

Please visit West London Projects website


25 Jun, 2010-24 Jul, 2010

Sutton Lane (Campoli Presti), Paris


25 June – 24 July 2010
Sutton Lane Paris

Marcel Broodthaers
Marcel Duchamp
Jutta Koether
Louise Lawler
Man Ray
Josh Smith
Reena Spaulings
Cheyney Thompson

‘The author is the principle of thrift in the proliferation of meaning. As a result, we must entirely reverse the traditional idea of the author. We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations. We are used to thinking that the author is so different from all other men, and so transcendent with regard to all languages that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely.

The truth is quite the contrary: the author is not an indefinite source of significations that fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. […] The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.

All discourses, whatever their status, form, value, and whatever the treatment to which they will be subjected, would then develop in the anonymity of a murmur. We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse? Instead, there would be other questions, like these: What are the modes of existence of this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference:
What difference does it make who is speaking?’

– from What is an author? by Michel Foucault, 1969 –

Art Basel Miami Beach: Art Positions Marcel Broodthaers / Reena Spaulings

03 Dec, 2009-06 Dec, 2009

Miami Beach

The Belgian Marbles

01 Oct, 2009-07 Nov, 2009

Sutton Lane (Campoli Presti), Brussels

Reena Spaulings
The Belgian Marbles
1 October – 7 November 2009
Sutton Lane, Brussels

Sutton Lane presents The Belgian Marbles by Reena Spaulings. For her second show with the gallery, Spaulings has produced an installation of new works on paper, marble sculptures and modified yoga mats. This is the artist’s first appearance in Brussels, and the first in a series of Sutton Lane exhibitions here.

During last year’s Art Basel Miami fair, in the depths of the recession panic, Spaulings spent some business-free moments photographing the shadows of palm trees outside the Raleigh Hotel. These images appear here as lithographic prints and are layered with the scanned pages of a Reena Spaulings Fine Art gallery sign-in book. Combining traditional and inkjet printing, the resulting works on paper (A Place in the Sun (Shadows)) partially obscure the signatures of New York gallery goers under one or several “shadows.”

A series of marble works were produced in collaboration with Josef Dalle Nogare, an art collector who happens to own a quarry and marble company in Verona, Italy. Trading artworks for materials and production with Dalle Nogare; Spaulings considers this exchange an integral aspect of the sculptures on view. As with the prints (co-signed by Spaulings colleagues, friends, collectors and competitors), the artist/gallerist finds ways of extracting material images from the specific economies and relationships in which she is implicated.

Radiators 1 – 3 are simplified, scale replicas of heating units that had previously been installed in the renovated apartment where Sutton Lane’s Brussels project is based. When the gallery removed several of the unsightly units to free up more space for art, Spaulings decided to re-install three versions of these in marble. The connecting pipes and unpainted walls where the rest of the missing heaters once stood have been left intact. The space is now without heat.

At the rear of the gallery, an outdoor, recreational deck overlooks a garden. Here, two additional marbles – Mollusk (Portoro) and Mollusk (Rosa Portogallo) – have been installed. Precise copies of a surfboard purchased at a cultish surf shop (Mollusk) in Williamsburg, Brooklyn, these Brancusi-esque works lean casually against the wall, far from any waves. Flopped on the floor, melted with a heat gun, and sometimes draped over framed prints, five yoga mats supply a colorful connecting tissue between the works on paper and the marbles.

The Belgian Marbles re-activates the specific geographical displacements and social networks through which Spaulings’ practice elaborates itself. Displayed as mute forms and colorized images, these socio-economic conditions now become a decor designed for the city of Brussels (in some ways the latest hope for an art market attempting to recover some vitality in a time of downturn). Like the Elgin marbles presently housed in London, these works are between one place and another, momentarily immobilized as their various destinies are being negotiated.

Reena Spaulings has been exhibited widely including solo exhibitions at the Kunsthalle Zurich and the Contemporary Arts Museum in St. Louis, and the current group exhibition Pop Life at Tate Modern, London.

Sutton Lane will present a project with Reena Spaulings and Marcel Broodthaers at Art Basel Miami Beach this December.

Reena Spaulings is included in the collection of the Museum of Modern Art (MoMA), New York and the Fonds Regional d’Art Contemporain, France.

The gallery will be open Thursday to Saturday.

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris


12 Oct, 2006-22 Dec, 2006

Sutton Lane (Campoli Presti), London

Reena Spaulings

12 October – 22 December 2006
Sutton Lane, London

Sutton Lane is pleased to announce the first exhibition of Reena Spaulings in London.

Reena Spaulings is an artist and art dealer based in NY.
Bialystoker is an exhibition of new paintings and drawings.
One series of canvases revisit Seurat’s pointillist experiment in order to picture the rise of a luxury condominium (designed by Bernards Tschumi) on NY’s Lower East Side, a few blocks from Reena Spaulings Fine Art.

Echoing the repetitive application of point in the small canvases is a large painting of a common brick wall. The Bricks is 40 feet long, double-sided, unstretched canvas.

A series of charcoal drawings is based on photographs of various art openings, performance events and installation views at Reena Spaulings Fine Art between 2004 and 2006. Many of the drawings have been altered in the framing process, using black matte board to recrop and sometimes mask more than half the original image.
Bialystoker is the name if a small street and a retirement home next door to Reena Spaulings Fine Art; it is also a region in Poland and flat style of bread loaf.